Congratulations to all the artists selected in the 2024 Salon des Refusés, run in partnership with the Brisbane Portrait Prize.
2024 Participants
Alissa Lamb Amanda Thompson Amanda Brierley Amanda Tonkin-Hill Angela McHugh Arthur De Laforcade Brett Poulsen Brydon Wang Carlos Barrios Christine Nagle Daniel Butterworth David Steel David Wells Deb Mostert Denise Cross Frazer Campbell Gordon Hanley Helenna Dohle Holly Field Isabelle Heaton James Randall Jamie Congdon Jennifer Hall Jenny Gao Jie Sun Jocelyn Kallis Jordache Gage Jordan Bennett Judith Sinnamon Jules Farrell Karen Dyer Kate Humphreys Kathy Sullivan Katrin Hummel Lara Cooper Lilly Piri Linda Westmoreland Maxim Chikanchi Melanie Kilby Paula Irene Payne Rachel South Razia Ghazal Rebecca Davis Rose Iron Samantha Groenestyn Sarah Greenwood Sarah Haegens Sonya Bading Stephen Hart Steve Baldwin Symone Male Tania Geyer Tim Warner Tom Gibbs Umihee Kim Yumin Yang Zaide Zoe Willey
Exhibition on show at Petrie Terrace Gallery from Thursday 8th August – Sunday 1st September 2024
Are you an artist looking for the perfect venue to showcase your artwork? Look no further than the Petrie Terrace Gallery, operated by the Royal Queensland Art Society (RQAS). Our gallery offers an affordable, professional, and inviting environment to hold your next art exhibition, open to both RQAS members and the public.
Why Choose Petrie Terrace Gallery?
Professional Setup: Our gallery boasts a professional hanging system and plinths to accommodate a wide range of media. With 47 linear metres of hanging space and professional downlights, your artwork will be showcased in a spacious and inviting space. To see the other upcoming Exhibitions click here.
Comfort and Accessibility: The air-conditioned gallery ensures a comfortable viewing experience for all visitors. Located at ground level, it provides easy street-level access and ample parking. Plus, it’s within walking distance to public transport, cafes, bars, and the vibrant Caxton Street.
Scenic and Inviting: Overlooking Hardgrave Park with views of the city from the upstairs workshop & Studio Space our venue offers a warm and inviting atmosphere that enhances the viewing experience for all visitors.
Additional Perks
Promotion: We will promote your exhibition through RQAS social media platforms and newsletters, ensuring your work reaches our audience.
Sales Processing: The gallery offers EFTPOS facilities at no additional cost, with all sales processed via RQAS to make transactions seamless.
Community Focus: As a community space, we charge a modest 11% commission on sales, including GST. For full details of fees and charges click here
Member Discounts: After 12 months of membership, All RQAS Brisbane branch members enjoy a discount on gallery hire.
Don’t miss this opportunity to exhibit your art in a prime location with professional amenities and community support. Contact us today to check availability and book your exhibition space at the Petrie Terrace Gallery.
Contact Us
For more information or to make a booking, please reach out to us directly via phone or email. Let’s make your next exhibition a resounding success!
Petrie Terrace Gallery is delighted to present the finalists in this years Salon de Refusés which run in conjunction with the Brisbane Portrait Prize.
This exhibition will run from Friday 9th of October to Sunday 1st of November at the Petrie Terrace Gallery, and online below.
Petrie Terrace Gallery Awards
Mr Smith by Jessica Guthrie Petrie Terrace Gallery Award – Francis Giacco
Cassie & Shan by Scott McDougall Petrie Terrace Gallery Award – Lara Cresser
Rewinding Evolution by Lars Vester Petrie Terrace Gallery – Bruce Heiser
Click here for more information on the winning artworks.
Finalist Artworks
Birrunga by James Stickland
2020 by Ping Carlyon
Press Conference by Terry Gillam
Deep Thoughts by Robyn J. Blackford
The Face to the Voice – Rebecca Levingston by Liz Jordan
Self Portrait by Tanika Cooper
Simple Being by Yumin Yang
Plein Air by Marie Smith
Artist at Work by Glen Gillard
In The Mirror by Paula Prentice
Picture in Picture by Tie Liang
Regurgitator by Shane Collinge
Andrea Staines OAM by Heather den Houting
Paul Carr by Robyn Carr
Home Schooling through the Pandemic by Sharon McDermant
Busty, Patron Saint of Beatz by Leib Abram
Spotlight on Neil by Peter Davies
Decisions by Rod Bailey
Deidre Power Girl by Stephen Nothling
Claudia by Grace Butterfield
Personage on Red Ground: Ruby Wharton by George Whelan
Schoiteacht: Being Apart by Faye McDermott
Benevolent Ben of Brisbane by Nicola Messiter-Tooze
Life Under Lockdown by Peter Hubbard
Dreamkiller by Robert Lowe
ICU 2020 – Helen Zahos by Ben Fuog
Musician Andrew Bierdermann by Johnny Huang
Toby Price by Carla Benzie
Anne and Serval by Jane Booty
Self Portrait in Bedouin Mirror (Seeing / Knowing) by Leigh Schoenheimer
Illuminate by Ellie Anderson
Professer James Dale by Campbell Paton
Soul Whisperings by Janelle Hatherly
Cam Crossely – A Portrait 2020 by Janice Pryde
The Wounds Are Where The Light Enters You by Lynne Day
The Auctioneer by Tom Macbeth
Solomon Claringbull Matdog by Sabrina Simoni
Vipassana by Vanessa Lamb
A Natural Scientist by Miranda Free
Self Portrait in Blue Dress by Ali Marshall
Contemplation by Alma Sarac
Precipice by Caitlin Kearney
Melting Bars. Self Portrait by Monica Batiste
Jarmbi by Carla Adams
Matt by Alex Leyshon
W. A.Smith by Nicole Crosswell
Billy Doo – The Next Brush Stroke by Jim Van Geet
Lucy and the Last Eyelash by Amy Bridge
Louise Bezzina by David Fenoglio
Rebecca by Philip David
Victoria by Holly Harper
Natalia Hughes in Home Studio with Ceiling Spiders by Savannah Jarvis
Kato by Anthony Pieters
Childhood Friend by Huon Kane
Delicate Shadows by Jaq
Jaguar by Elizabeth Barden
Bri Lee by Melanie Kilby
On My Mind – Portrait of Ian Huag by Elizabeth Barden
Bloody COVID 19! by Peter Fung
Ian Henderson by Peta Harvey
Self Portrait in Lockdown by Danielle O’Brien
Madonna of Education by Samantha Groenstyn
Moira Williams by Judith Sinnamon
If you wish to in the conversation on your socials, on Instagram we are @petrie_terrace_gallery and on Facebook @rqasBRIS and use the following hashtags #BPPsalon2020 #rqasbris #petrieterracegallery to comment or post.
Royal Queensland Art Society, Brisbane Branch is proudly supported by
Welcome to Abstraction 2020: This year we are running this exhibition online and in the Petrie Terrace Gallery from Friday June the 12th when the Gallery will re-open.
Abstraction was Judged by Andrew Baker with the Award presentation to be held at 2pm, on Saturday 27th June.
If you would like to come along bookings are essential, please RSVP with any attendees by 20th June by email or phone to the Gallery directly.
ABSTRACTION 2020 – WINNERS
First Prize – Untitled I (Deliberate Picture Series) by Natalie Lavelle
Above all other works in the exhibition, this painting connects directly with the origins of Western abstraction from the 1910s and -20s. In so doing, it exhibits lessons learned from early adherents such as Kazimir Malevich and Theo van Doesburg. Echoing Japanese and Chinese calligraphy, Natalie’s single sweeping brush stroke is at once deliberate and controlled — yet has a looseness that provides both movement and tension to the picture. The vertical string-line bisecting the picture plane adds a note of formality and provides a reference against which the viewer might contemplate placement of the large shadowy brush stoke upon the painting’s brilliant white rectangular ground.
Second Prize – Thereabouts by Helen Creed
This painting is a rare bird — that is, one which works as well hung on a diagonal as it does on the square. Reminiscent of knitting or Indigenous weaving patterns, the tricolour stripes, in progressively darker tones from front to back, give the painting an impression of depth and airiness. The warm tones of Helen’s painting are inviting while the imperfect straight lines provide an elasticity filled with tension.
Third Prize – Night Market by Kim Lowry
Straddling pure abstraction and physical reality, this tonal study of light in relation to objects could only exist in modern times. Devoid of gesture, the flatly painted areas of merged and fragmented shapes play with notions of focus and depth of field in a photographic sense. The modest size of Kim’s painting is appropriate for its humble subject matter and probably wouldn’t have worked as well on a larger scale.
Peoples Choice – LCS.1 by Petalia Humphreys
Untitled I (Deliberate Pictures Series) by Natalie Lavelle $2800 Acrylic and Thread on Canvas 105cmwidth
Thereabouts by Helen Creed $650 91x91cm Acrylic
Night Market by Kim Lowry $250 51x61cm Acrylic on Canvas
ABSTRACTION 2020 – ENTRIES
Waters Edge by Theresa Rule $900 Mixed Media
Flora by Kip McCauley-Wassell $160 90x125cm Acrylic on Canvas
All Over Town by Lauren Hughes $760 61x61cm Ink
Upcycled Landscape by Lee Wilkes $900 41x41cm Oil on Canvas
Skyline by Esther Austin $320 31x40cm Oil on Canvas
Arson by Kip McCauley-Wassell $200 90x140cm Acrylic on Canvas
Jungle by Keili Major
Soaring Upwards by Beverley Tainton $ xcm Acrylic
Snake be Keili Major $350 51x110cm Mixed Media
Singularity by Glen Buckley $1200 60x60cm Acrylic pen on wooden panel
Abstract Village II by Esther Austin $500 40x50cm Oil on Canvas
Conversations by Tracy Spalding $950 75x75cm Mixed Media and Collage on Canvas
Don’t Let the Sun go down on Me by Minal Karim $200 40x60cm Oil on Canvas
Slow Burn by Carolyn O’Neill $2500 120x100cm Oil on Canvas
Transmutation by Rawdon Slater $800 76x76cm Oil on Canvas
The Tree That went Berserk by Laura Phillips $2000 Mixed Media
Abstract 9 by Joanne Heath $400 93x61cm Acrylic
Red Vase by Esther Austin $320 31x40cm Oil on Canvas
Changed Perspective by Tracy Spalding $350 50x50cm Mixed Media on Canvas
Unfurling by Rawdon Slater $900 96x73cm Oil on Canvas
Abstract Village I by Esther Austin $500 40x50cm Oil on Canvas
The Language of Giraween by Alan Morrison $2500 Acrylic and Mixed Media
The Returning by Lara Bakes Denman $250 41x61cm Digital on Canvas
The Dichotomy of Good and Evil by Minal Karim $100 Acrylic on Canvas
Moana by Claire Grant $550 Oil, Encaustic and Mixed Media
Moody by Bee Twomey $1050 Acrylic on Canvas 76x76cm
Dancing in the Rain by Lara Bakes Denman $200 41x41cm digital on Canvas
Gently Breathing Love Back into Life by Lara Denman $200 41x41cm Digital on Canvas
What I Remember About City Life by Lara Denman $250 41x61cm Digital on Canvas
Mangrove Watch by Jacki Archibald $890 Mixed Media **SOLD**
LCS.1 by Petalia Humphreys $950 90x90cm Acrylic an Plywood
Botanical by Beverley Tainton $2450 98x98cm Acrylic on Canvas
Hong Kong Harbour by Christine Groh $275 Acrylic
From Above the Freeways by Ross Halfacree $1500 125x65cm Acrylic, Pen and Pencil on Canvas Paper Triptych
In A Perfect World by Ross Halfacree $1800 61x61cm Acrylic and Spray Enamel on Canvas
Solitary Although Together by Marijke Lambregtse $660 61x61cm Mixed Media on Canvas
Impressions of Uluru by Gaye Cook $300 40cms Mixed Media **SOLD**
Where Did It Go? by Marijke Lambregtse $660 76x51cm Mixed Media and Collage
Decomposing Autumn Leaves on a Rainforest Floor by Marianne Grigore $1000 Oil
People Assembled by Marijke Lambregtse $660 76x51cm Acrylic on Canvas
City Cat by Elisabeth Ruiz $450 80x80cm Acrylic on Canvas
Abstract180420 by Allan Green $900 60cm x 120cm Oil on Canvas
Jubilation by Owen Hutchison $600 Digital Print of Woodcut
Amphibious by Jo Langley $490 42cms
Circle Squared by Joanne Heath $350 50x50cm Acrylic on Canvas
Blue and Yellow Cockatoo
Abstract260220 by Allan Green $900 90cm x 90cm Oil on Canvas
Idolatries by Anna Gonzalez $1800 Archival Inject Print
City At Night Collage by Kathleen Dempsey $400 Acrylic and collage
Plastic Cell by Tracie Axton $100 Mixed Media Found Plastics
Armchair by Kip McCauley Wassell $250 76x105cm Acrylic on Canvas
Running Before the Wind by Christine Groh $275 61x61cm Acrylic
Tropical Capers by Vivienne Serle
Covid Musings by Vivienne Serle
SR.1B by Petalia Humphreys
Face the Music by Karen Knight
Waterfall by Karen Knight
Orange Sky by John Hartley Dunne
Fantastic Fungi by Jan Hutchison $520 83cm Textiles
Fly Me To The Moon by John Hartley Dunne
The Joy of Licorice Allsorts by Glenmary Swan $250
Budgies by Wendy Pound $350 76x30cm Acrylic on Linen
My Country Life -Whirlee Whirlee by Jennifer Parker $TBA Acrylic on Canvas
Imagined Landscape by Vashti-Sita $150 matted, $170 framed, 43x53cm. Mixed Media on Paper.
Blue Opal, by Meredith Howse $1200 121x91cm Acrylic
Coastal Walk by Tracy Spalding $750 75x75cm Acrylic on Canvas
Artists
To find out more about the Artists & RQAS Members in this online exhibition, please click their links below:
All art forms and processes involve abstraction of some kind, even when the aim is representation of recognisable forms. But in modern parlance, abstract art is that which uses the visual language of shape, form, colour and line to create a composition which may exist with a degree of independence from visual reference to the world.
However, the varying forms and degrees of abstraction in art can leave a viewer in some confusion, especially as many artists today will argue that all art is abstract (see for example the comments of Australian Artist Irene Amos). After all, paintings and drawings consist simply of marks put together on a flat surface, with or without representational effect, and even translating from a 3D subject onto a 2D ground must involve considerable abstraction from observed reality.
To illustrate the points above see this illustration where there is drawn box, clearly representational. When the drawing of box is analyzed by exploding the drawing into the shapes that make it up you see clearly that all it is a series of abstract shapes yet when put together become a recognisable object
The modern identification of ‘abstract’ with non-representational art may therefore be somewhat misleading, and perhaps a misrepresentation of the translative art process.
Nevertheless, in so-called pure abstraction an artist uses gestural marks or geometric shapes which have no obvious source in the external visual world but can relate instead to (for example) emotion or music (such as Kandinsky/Mondrian or Bridget Riley).
Example of Briget Rileys Art.
Art labelled abstract expressionism, as practised by artists like Helen Frankenthaler or Jackson Pollack is, by definition, expressive of something though artists may argue about exactly what.
Helen Frankenthaler in her studio 1956. By Source, Fair use, https://en.wikipedia.org/w/index.php?curid=34249664)
The abstraction employed in other schools of art like Fauvism, Dadaism or Cubism retains more of a link, however attenuated or distorted, to the visual world (such as Henri Matisse or George Braque).
Bottle and Fishes c.1910-2 Georges Braque 1882-1963 http://www.tate.org.uk/art/work/T00445
The degree and nature of this link varies from artist to artist as can be seen in contemporary works by Wendy Sharpe or Georgia O’Keefe which abstract in a painterly way from clearly recognisable forms.
‘Abstract’ is thus a term broadly used, making the distinction between various forms of abstract art not always immediately obvious. This probably does not matter except to art historians. The average viewer will take each work on its own terms and make their own judgments.
BBC arts documentary in which painter and critic Matthew Collings charts the rise of abstract art over the last 100 years. Including reference to the fascinating spiritual painter Hilma Af Klint with her work from 1907.
Tate Blog Post “Some artists of this ‘pure’ abstraction have preferred terms such as concrete art or non-objective art, but in practice, the word abstract is used across the board and the distinction between the two is not always obvious.”
John Wolseley’s work highlights the blending of spontaneous process with a rich artistic journey, the marks of which are both left on the work and incorporated into his mixed media art.
There are very few people who make a noticeable mark on the art world, but Ruby Eaves was one of the very dedicated and talented few, who did just that. Ruby participated in many solo and group exhibitions and was often a feature artist, making her in high demand as a judge and tutor. She mostly painted in watercolours and oils but was proficient in all mediums. Her first award was at the Orange Art Festival in 1982, winning first prize with a watercolour, arguably her favourite medium. Ruby lived in western NSW before moving to Orange and then relocated to Brisbane in 1986. She then became a member of the Watercolour Society of QLD as well as the Royal Queensland Art Society. It was during this time that she became so proficient and recognised for her talent not only here in Queensland but also internationally. Her works hang in many public and private collections in Australia and overseas. Many of her paintings have been “acquisitions” by Corporate Businesses as well as Bathurst City Council, Lithgow City Council, Portland Rotary Club and Moreton Shire Council. Ruby’s art often reflected the beauty of light in the Australian landscape. Living on acreage was a source of constant inspiration for her favourite subject matter, enabling her to capture the mood, atmosphere and that “fleeting magical moment”. Ruby was particularly fond of country landscapes, but also loved painting seascapes and international scenes with equal expertise. She had that magical ability to capture the very spirit of the scene to captivate the viewer. In limited space I have hardly done Ruby’s achievements justice, but I know that those who knew her are richer for the experience as am I. She conducted herself with such dignity, generosity and grace and battled ovarian cancer with an inner strength until the end. What an amazing role model for us all. We will never forget you Ruby. Rest in peace my friend. Written by Anne Roberts
The importance of drawing lies in the fact that it embodies a genuine and independent way of thinking. It is the most fundamental and direct of the visual arts in so far as it underlies mastery in almost every discipline in the visual art world.
Training in the formal aspects of drawing is a fortifying element in any artist’s work however he or she may ultimately choose to compose. Learning to see size, scale, shape, and spatial relationships, along with surface interplays of textures within a wash of lights and darks, is necessary for representing any formal idea, whether realistic, imaginary or symbolic. In the first place you must learn to see and draw accurately before you can move on to more expressive ideas.
The best drawing practitioners understand that they only really see something when they draw it.
—
“Self Portrait” by Kay Kane.
Dr. Kay Kane
DAFA(Lon),BAFA(Lon)FRQAS(Bris),DVA(Bris)
Artist, Teacher of Drawing and Painting
Volunteer Gallery Assistant Positions Available – INTAKE EVERY JAN, APRIL, JULY & OCTOBER .
The Royal Queensland Art Society, Brisbane Branch are looking for passionate, proactive people to join our team at Petrie Terrace Gallery.
About us:
The Petrie Terrace Gallery is owned and operated by the Brisbane Branch of the Royal Queensland Art Society (RQAS). The RQAS is a not for profit organisation and was born in 1884, formed by a group of like-minded artists and was formally established in 1887.
The objectives of the RQAS are to encourage and promote the cultivation and appreciation of the fine arts, and provide an artist hub for artists of all genres and encourage the visual arts, provide support to artists, networking opportunities and present exhibitions.
The following volunteer positions are available:
Library and Cataloguing Assistants.
Short Term 3 – 6 months, Volunteer Position.
The historic and important collection of rare books and exhibition ephemera of the RQAS Library is being digitalised and re-catalogued. We are seeking art history students, art history enthusiasts and research students to assist us in this task. This project will be a rewarding and valuable experience for anyone wanting to work in these fields. Computer and archiving skills would be an advantage though all training will be provided.
Gallery Assistants (Administration and Front of House Gallery Duty)
Casual – Ongoing position, Volunteer Position.
Petrie Terrace Gallery are seeking casual assistants who wish to gain experience in the front of house operations of an art gallery. The role will include administration duties, sales and general enquiries, art handling, and occasional assistance in curating and promotion. An interest in the arts and previous experience in retail and / or administration would be an advantage though all training will be provided.
To apply please complete the following form & we will get in touch with you shortly.
For more information please contact our Gallery Coordinator on (07) 3367 1977 or email her at gallery@rqas.com.au
